Morning sun and shadows in a canyon

Canyon Shadows

Yesterday after I finished the last sketch I drew this one onto another 8x10 canvas sheet. I put about 5 micrograms of paint on the bluff tops in the wrong shade of yellow green and said, anhhh, tomorrow. Restarted after lunch today, knowing it had to be more citron-ish. Went through several shades of gray before I got a good general representation of the basalt cliffs, tricky because of the late morning light and blue-sky shadows, and ended up having to wash them all with ultramarine and black before I got the value right. I also had to stand back about 12 feet when comparing it to the photo, in order not to get lost in the detail.

I had a background goal to try to finish this as quickly as I could as a sketch. My watercolor friend says she likes to finish in one or two hours, so I set a goal of two hours, but it took me three and a half to get it to this point, not counting a fifteen minute walk through the garden in the middle.

This one didn't put up much of a fight, but I really didn't set the bar very high—I wanted it loose and I was much more interested in figuring out the colors than in focusing on detail. This is based on the idea that if you get the right colors in the right places, it's going to look pretty much like your subject, and "pretty much" was right what I was aiming for.

I really want to do this one bigger at some point—it's one of my favorite shots from my trip—but I wasn't sure I could handle the detail. It wasn't a problem at 8x10 size, but it'll be a different story at 18x24 or bigger.

So I'll do more sketches first.

A different canyon, a very different experience

I wanted to paint this canyon as soon as I saw it; it seemed like the archetype of a high desert canyon. I picked it for my second try at Zion and was hoping for another short and easy sketch, but by the time I had five hours on it and it still didn't look anything like I wanted it to, it obviously wasn't either.

I decided it must be a problem-solving session for painting rock formations, and that's something I want to learn to do, so I just kept working on it. The big question in my mind was, how much detail should I put in? I guessed the answer is, however much as pleases me. I had to try to find a balance between the endless textures in the photo and the minimum amount required to make not a quick sketch, but a painting. It lacked the strongly delineated shapes of the last sketch, so it seemed that I would have no choice but to work on the surface textures of the walls. I put in what seemed like a medium level of shapes, feeling like I should concentrate the detail around the canyon opening. After that I spent quite a while first figuring out the colors, and then contouring the shapes. I left two areas without any detail just to see how they would compare with the rest, and I decided that was not enough detail.

There was one area I just couldn't get to work with the other sections, and I stared at it for a day without getting any ideas. But the next morning I woke up knowing I was ready to gamble that something good would happen if I just kept working on it. So the first thing I did that day was cover the whole area that didn't work with a wash of dark red. Immediately it not only fixed the problem, it completed a larger pattern of blocks of color that I hadn't really noticed beneath all the textures. It occurred to me that the design of this painting, rather than being lines, was the shape of those color blocks.

A couple of the sketches I've done lately have had more interesting compostions that I had in mind when I started them, so I've spent some time studying them. I'm going to try and keep track of the ones that I like.

Sketch painting for practice

Zion Sketch 1

Once again with a full palette after the two florals, I decided yesterday it was time to tackle some of the 1" thick stack of my photos that I've thought about trying to paint, and picked one from Zion National Park. I wanted to do as quick a sketch as I could, just enough to work out if the image would translate to a painting both composition- and color-wise, plus be as interesting as I thought it was as a photo. I already had the colors I needed on the palette, so I grabbed a scraggly brush and started brushing in the shapes, and filling them in with what I already had mixed. Since there were a lot of dark and shadowy areas, I brushed those in as well to locate all the shrubbery and rock contours.

I loosely followed the colors from the photo, inadvertently intensifying them. This composition seems to play the light orange off the fairly-pure yellow of the central tree, but with plenty of support from blue, greens, and the grayed violet. So once again, the same basic combination—yellow & violet, and orange & blue, but this time with a lot more of the yellow-greens. I really can't believe how versatile this set of colors is.

I was thinking as I started that doing sketches would give me both a lot of practice, and a low-pressure place to figure out how to handle the more challenging areas, which in this case were the shadows, the large rock mass behind the front one, and the tree in the foreground. The rock mass I had to repaint a few times, and it took a few tries to get the hue and value of the shadowy areas on the orange rock, but the yellowish tree in front was a lucky break. I like the way the simple shape and bright colors attract attention to the foreground while they're playing off the more distant orange. I had thought I would want to refine the whole painting more, but was happy to find it had a lively rough look that suited it.

I see lots more sketching in my future.

Last painting for the October show is done

Refuge

22"x30" Ink and colored pencil on archival cotton paper $500
You can purchase this painting HERE.

I just put the last touches on my last new painting for the show next month. Time to put the pencils away for a while. I'll be posting the announcement for the show this week. I wanted to use different colors from the reds of the last two. There was actually another new painting but it took a nose dive a couple weeks ago. I may be able to rescue part of it, but almost half of it is ruined.

It happens. The colored pencils are only so forgiving. I may try it again; I did like the composition. But not right now.

I'm getting ready to embark on the set of illustrations I want to do for my book Take The Wind Up With You. I have a list of about 15 ideas, but I've really got to work on my eagle- and mouse-rendering skills. I haven't done any action drawing since my horse-drawing days, sixty years ago. I'm thinking of doing them digitally, if I can manage that. Wish I could channel N. C. Wyeth.

Painting Zion Canyon

I just finished my first painting of Zion Canyon. I spent a week there in November of 2004 and took about 800 photos. I didn't try painting them sooner because I had no confidence that I could do justice to the rock formations. But I finally decided to try this spring (and hey—it's spring!) so I sorted through them several times and pulled out ten that I think have pretty good compositions. I liked this one for the soft light and the rich colors. This photo was taken in the morning on one of my last days there, when the temperature dropped about 30º and I woke up to a quarter inch of solid ice all over my car.

If you've never been there, it's definitely worth a trip, and as long a stay as you can manage. Going in the off-season was particularly nice. I was entertained by the fact that almost all of the people I saw there, especially early in the day, had cameras, tripods, and varying amounts of other photographic gear. That was the first trip I had ever made where there were more photographers than tourists. I didn't do any real hiking, just followed all the roads I could find. I think a committed visitor could spend 3 months there—or as many years—without running out of new sights.

And I have a special fondness for it because it's the setting for my story book, Take The Wind Up With You.